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Home , Andrew Imbrie, Carter Pann, Conrad Cummings, Jack Beeson, Jan DeGaetani, Mansfield Park (opera)

SCHOOL OF MUSIC – State University, Landini Center for Performing and Fine Arts, Terre Haute, Indiana 47809 CELEBRATING 50 YEARS Tuesday, October 25 – Friday, October 28, 2016 featuring the music of Libby Larsen and James Beckel

INDIANA STATE UNIVERSITY 50th Contemporary Music Festival OCTOBER 25 – 28, 2016

The School of Music at Indiana State University welcomes all participants to the performances, seminars, sessions, and other events that make up this 50th Contemporary Music Festival. The school expresses its appreciation to the guest performers, composers, and scholars; to the local and extended audience; and to the sponsoring agencies that have made this festival possible.

Guest Orchestra The Indianapolis Chamber Orchestra Matthew Kraemer, Music Director

Principal Guest Composers Libby Larsen and James Beckel

Composition Contest Winner Reinaldo Moya

Guest Soloists Jeff Nelsen, ; Clara Osowski, mezzo-soprano

Guest Ensemble Shattered Glass Ensemble

Music Now Composition Contest Winners Taylor Ackley; Jack Frerer; Salvatore LoCascio; Suzanne Sorkin; Harry Stafylakis

School of Music Terre Haute, Indiana 47809 www.indstate.edu/cas/cmf Contents

Tuesday, October 25, 2016 7:30 p.m. Concert: The Indianapolis Chamber Orchestra ...... page 11 Tirey Hall, Tilson Auditorium 6:30 p.m. Pre-Concert: Community School of the Arts Adult African Drum Class post-concert Reception Tirey Hall, Heritage Ballroom 7:30 p.m. Concert: Faculty and Guest Artist Recital ...... page 5 Clara Osowski, guest vocalist Friday, October 28, 2016 University Hall Theater 9:00 a.m. Session: Creative Connections with Libby Larsen and Clara Osowski post-concert Reception Landini Center for Performing and Fine Arts, Room 159 University Hall, Atrium 10:30 a.m. Concert: ISU Faculty and Friends Chamber Recital ...... page 12 Landini Center for Performing and Fine Arts, Recital Hall Wednesday, October 26, 2016 1:30 p.m. Session: Music Now Composers 7:30 p.m. Concert: Guest Ensemble Recital ...... page 7 Landini Center for Performing and Fine Arts, Room 159 Shattered Glass Ensemble 3:00 p.m. Concert: Music Now Recital ...... page 13 University Hall Theater Landini Center for Performing and Fine Arts, Recital Hall post-concert Reception 7:30 p.m. Concert: ISU Ensembles ...... page 14 University Hall, Atrium ISU Student and Faculty Ensembles Tirey Hall, Tilson Auditorium Thursday, October 27, 2016 9:00 a.m. Session: Principal Guest Composer, Libby Larsen Principal Guest Composer: Libby Larsen ...... page 15 Landini Center for Performing and Fine Arts, Room 159 Principal Guest Composer: James Beckel ...... page 15 10:30 a.m. Concert: ISU Student Performer and Composer Recital ...... page 8 Composition Contest Winner: Reinaldo Moya ...... page 15 Landini Center for Performing and Fine Arts, Recital Hall Guest Soloist: Jeff Nelsen, horn ...... page 16 1:30 p.m. Session: Principal Guest Composer, James Beckel Guest Soloist: Clara Osowski, mezzo-soprano ...... page 16 Landini Center for Performing and Fine Arts, Room 150 Guest Ensemble: Shattered Glass Ensemble ...... page 16 3:00 p.m. Concert: ISU Faculty and Friends Chamber Recital ...... page 10 Landini Center for Performing and Fine Arts, Recital Hall Music Now Composers ...... page 17 4:30 p.m. Open Rehearsal: The Indianapolis Chamber Orchestra Guest Orchestra: The Indianapolis Chamber Orchestra ...... page 17 Tirey Hall, Tilson Auditorium Matthew Kraemer, Music Director ...... page 18 6:30 p.m. Concert Comments: CMF/ICO Composition Contest Winner Past Participants ...... page 20 Tirey Hall, Tilson Auditorium Acknowledgments ...... page 24 47TH CONTEMPORARY MUSIC FESTIVAL

History of the Contemporary Music Festival By Kathleen Hansen Sabaini

When Izler Solomon, conductor of the Indianapolis Symphony Orchestra, approached the Rockefeller Foundation in September 1965, he had in mind a foundation-supported project involving the orchestra and colleges and universities in the Indianapolis area. Solomon told Martin Bookspan, the foundation’s music consultant, that foundation support could add a week to the ISO concert season. The orchestra in turn would devote the week to publicly rehearsing and performing music by American composers, giving preference to works that had not been performed before in the Indianapolis area. This meeting was the genesis of Indiana State University’s Contemporary Music Festival, which celebrates its 50th anniversary this year.

Solomon’s proposal led to another meeting, when foundation officials met in Over the last fifty years, the festival has featured numerous nationally and internationally with ISU Department of Music chairperson James Barnes, along with William Thomson and known performers, conductors, and composers. Seventeen of them now have the Pulitzer Prize Wilfred Bain, theory chair and dean, respectively, of the Indiana University School of Music. for Music, and four have received the Grawemeyer Award. Some of them were guests of the The foundation agreed to make a grant to the Indiana State Symphony Society Inc. to fund festival several years before they received these awards. Festival planners built into the program premiere performances of symphonic works by American composers to be presented in lectures, symposia, open rehearsals, and social events to foster interaction between the visiting Terre Haute and Bloomington. musicians and the public. An annual competition for orchestral compositions, part of the festival A nationwide advertisement called for scores that were screened by ISU music faculty since its inception, has provided many young composers with the invaluable experience of members Sanford Watts and Jon Polifrone, further evaluated by Barnes, and turned over to hearing their works rehearsed and performed by a professional orchestra. Solomon for final selection. The result? The first Symposium of Contemporary American Music After the festival’s first two years, however, foundation support ceased. ISU President at Indiana State University—several open rehearsals and one orchestral concert—took place Alan Rankin, a musician himself, saw not only the artistic value of the event but also the prestige May 8-11, 1967, after a week of similar activities at Indiana University. it had brought to the institution and allocated university funds to keep the festival going. Since then, the mission of the festival has grown to give students a glimpse of the lives In 1971, under the leadership of ISU percussionist Neil Fluegel, the format of the festival of professional composers, performers, critics, and scholars; to promote the work of young underwent major changes. One well-established composer—that year it was Michael Colgrass, American composers; and to generate public interest in modern music. It stands alone among who would win the Pulitzer in 1978—was invited to participate with the competition winners. other contemporary music festivals by emphasizing symphonic music and featuring a major A solo and chamber ensemble concert by faculty and students, featuring the professional orchestra. of the participating composers, was added. The daytime event schedule was expanded as

3 orchestra section leaders held master classes, and the principal guest composer led a as , George Rochberg, and —spoke frankly of their desire to composition seminar. The additions have been preserved, with some changes, since that time. communicate with their audience. Newspaper reports of the first few festivals describe a fairly conventional event, but Selection of chamber ensembles began to favor nationally known groups over regionally coverage of the 1971 festival indicated a new underlying political agenda: a break with recognized ones. Music critics from major publications were invited and led student writing traditional Western culture. Events included a modern-dance workshop, a seminar in seminars. Faculty began to require students to attend the festival and, often, to write multimedia composition, and a synthesizer demonstration. “Music to the People,” the title of the related class papers. The Louisville Orchestra, which made its reputation in the 1950s for special festival edition of the ISU student newspaper, mirrored the anti-elitism that had begun commissioning and performing contemporary music, began participating in 1987. to pervade higher education. Some of the social changes of the previous decades, however, began to leave their The idea that art music could be relevant to youth was reflected by concert programs mark: women composers like and Ellen Taaffe Zwilich began to be integrated and newspaper articles equating these young, longhaired composers in blue jeans with into the festival, and members of the Kronos Quartet preferred T-shirts and leather jackets the iconoclastic masters of the century’s earlier years. Now the emphasis was on student to formal wear. involvement: performing, composing, and participating in panel discussions. They no longer During the 1980s, festival planners had to do more with less, and over the decade they just observed musicians and composers as role models on a stage or in front of a class, but reduced the number of competition winners to one, returned to the single orchestral concert interacted with them at their instruments, at the lunch table, or on the softball field. format, and condensed the festival from four days to three. Getting funding for the festival was The 1972 festival died in a strike by Indianapolis Symphony Orchestra union musicians, a continuing struggle, and several times the future of the festival was in doubt. but in 1973 the festival continued to move in new directions. Over the However, overwhelming support from the music faculty, growing audience interest, next several years, the musical emphasis was on experimental composition and and increasing national recognition of the respect for the festival persuaded the university performance techniques of the late-twentieth century. In the first three festivals, only one administration to provide the means for it to continue. Although public funding for many composition—’s Orchestral and Electronic Exchanges (1967)—included projects was cut drastically during the period, the festival was beginning to receive grants from non-orchestral elements. But electronic and synthesized music soon became an annual government and corporate sources. component of the festival. The introduction of the Indianapolis Chamber Orchestra as the festival’s guest orchestra , twelve-tone and total serialism, multimedia, and aleatoric compositional in 2007 helped to reestablish its connection to Indiana’s outstanding arts organizations. In fact, methods were represented, as were the influences of ethnic musical styles, jazz, and rock. the 2007 festival featured an all-Indiana cast, including the guest composer, the composition Some representative guest composers were David Cope, Ross Lee Finney, and Will Gay Bottje. winner, the guest orchestra, and the guest chamber ensemble. While the principal guests Nonstandard notation became commonplace. Slides, films, and other visual elements were may change, however, the primary goal of the festival remains true to its roots - to introduce introduced. Altered instruments (such as prepared ) and unfamiliar techniques (such as students to the everyday work of professional musicians and to present new music to the plucked or bowed piano) were used. Much attention public. No one can predict the result of the synthesis of these ideas. But one thing is certain: was given to world premiere pieces. The festival clearly reflected the “do your own thing” era. if art music of any style is to remain alive, it music continue to grow. Indiana State University’s For several years, many were attracted to the novelty of the festival. But public Contemporary Music Festival is one event that encourages that growth. It is to be hoped that tastes change with time, and the inflation of the late-1970s made it increasingly difficult universities everywhere will persevere in such encouragement for the enrichment of to keep up with festival expenses. The culminating orchestral concert was made a part our culture and our lives. of the university’s Convocation Series. Neo-Romantic principal guest composers—such

4 47TH CONTEMPORARY MUSIC FESTIVAL Faculty and Guest Artist Recital Tuesday, October 25, 2016, University Hall Theater

6:30 pm: Pre-Concert performance by Community School of the Arts Adult African Drum Class Colleen Haas, director

COMMUNITY SCHOOL OF THE ARTS The Indiana State University Community School of the Arts (CSA) provides the communities of the Wabash Valley and surrounding areas the opportunity to participate in non-credit classes in music, theater, visual art and private music lessons. The CSA welcomes students of all ages, backgrounds and ability levels to experience professional and affordable instruction in the performing and fine arts.

7:30 pm: ISU Faculty with special guest Clara Osowski, mezzo-soprano

PROGRAM

Grand Sycamore Fanfare Libby Larsen (b. 1950) Paul Bro, alto saxophone Kurt Fowler, cello

Beloved, Thou Hast Brought Me Many Flowers Libby Larsen I. Beloved, Thou Hast Brought Me Many Flowers - Elizabeth Barrett Browning II. Liebeslied - Rainer Maria Rilke III. Do you know - Rainer Maria Rilke IV. White World - Hilda Doolittle V. Music, when soft voices die - Percy Byssh Shelley VI. Go from me - Elizabeth Barrett Browning

Clara Osowski, mezzo-soprano Kurt Fowler, cello Martha Krasnican, piano

continued, next page 5 continued from previous page

Dialogues James A. Beckel Jr. (b. 1948) I. “A sense of urgency” II. “End of an Era” III. “Can’t we agree to disagree?” IV. Homage to Music Kelley Rogers Niiyama, ; Erik Rohde, violin; Kurt Fowler, cello Martha Krasnican, piano; Nick Olson, percussion

--- Intermission ---

Sifting Through the Ruins Libby Larsen I. ...Jeff Hardy… - anon. II. To the Towers Themselves - anon. III. Don’t look for me anymore - Alicia Vasquez

Clara Osowski, mezzo-soprano Erik Rohde, viola Martha Krasnican, piano

Love after 1950 Libby Larsen I. Boy’s Lips - Rita Dove II. Blonde Men - Julie Kane III. Big Sister Say, 1967 - Kathryn Daniels IV. The Empty Song - Liz Lochead V. I Make My Magic - Muriel Rukeyser

Clara Osowski, mezzo-soprano Martha Krasnican, piano

6 47TH CONTEMPORARY MUSIC FESTIVAL Guest Ensemble Recital Wednesday, October 26, 2016, 7:30 pm, University Hall Theater

Shattered Glass Ensemble

PROGRAM

Transition Behavior Pascal Le Boeuf (b. 1986)

Evening in the Palace of Reason Libby Larsen (b. 1950)

--- Intermission ---

Entr’acte Caroline Shaw (b. 1982)

Sinfonietta per archi Kryzstoff Penderecki (b. 1933)

7 ISU Student Performer and Composer Recital Thursday, October 27, 2016, 10:30 am, Recital Hall

PROGRAM

Grand Sycamore Fanfare Libby Larsen (b. 1950) ISU Steel Drum Band Nick Olson & Jimmy Finnie, pan; Stephen Sholey, double second pans Megan Casas, triple guitar pans; Tyler Brown, bass pans

4 Rotations Pour Marimba Eric Sammut (b. 1962) Jaxson Schuessler, marimba

Blonde Men Libby Larsen (b. 1950) Laura Fultz-Sprouls, mezzo soprano; Sharilyn Spicknall, piano

A Pig in the House Libby Larsen Seth Jines, tenor; Martha Krasnican, piano

The Call and Awakening from The Glass Bead Game James Beckel (b. 1948) Nancy Bernal, horn; Martha Krasnican, piano

O You Whom I Often and Silently Come Daniel Powers (b. 1960) I Would in that Sweet Bosom Be Ben Moore (b. 1960) Logan Williams, tenor; David Gibbs, piano

8 47TH CONTEMPORARY MUSIC FESTIVAL

Tristan and Isolde from Celtic Romance for Flute Ensemble Dakota Jones (b. 1994) ISU Flute Choir Ricardo Gil, Zachary Davis, Stephen Mead, Dr. Joyce Wilson, flutes Karissa Mills, piccolo; Carlee Schlatter, alto flute; Dakota Jones, bass flute

America Never Was America to Me Mohammed Fairouz (b. 1985) Flint Dollar, piano

Three Simple Songs Henry Mollicone (b. 1946) I. There Is Another Sky II. God Made a Little Gentian III. Poor Little Heart Katelyn Kendall, soprano; Flint Dollar, piano

Aubade for Solo Flute Libby Larsen Ricardo Gil, flute

Toccata from Six Interval Inventions Dan Locklair (b. 1949) Jon Treadway, piano

Michi Keiko Abe (b. 1937) Tyler Blaisdell, marimba

Beyond Reason Kyle Hartzog (b. 1996) Kyle Thomas, soprano saxophone; Zachary McCloud & Jon Allender, alto saxophones Matt Harvey, tenor saxophone; Kyle Hartzog, baritone saxophone

9 ISU Faculty and Friends Chamber Recital Thursday, October 27, 2016, 3:00 pm, Recital Hall

PROGRAM

Grand Sycamore Fanfare Libby Larsen (b. 1950) ISU Faculty Wind Quintet Joyce Wilson, flute; Katherine Gunn, Kelley Rogers Niiyama, clarinet; Brian Kilp, horn; Chad Roseland,

Everything Flows (2016) Caroline KyungA Ahn (b. 1975) I. Karma Interlude - Story of the Wind II. Sound of the Wind III. Consciousness World Premiere Cramped Spaces Ensemble Beverley Simms & Martha Krasnican, piano Jimmy Finnie & Sharon Jackson, percussion

Primitive Modern for Horn and Fixed Media James A. Beckel Jr. (b. 1948) Brian Kilp, horn

Bid Call for alto saxophone and cello Libby Larsen I. Rapidfire II. Traige III. Rapidfire with Bodran Paul Bro, alto saxophone Kurt Fowler, cello

Blue (after Marc Chagall) Libby Larsen ISU Faculty Wind Quintet Joyce Wilson, flute; Katherine Gunn, oboe Kelley Rogers Niiyama, clarinet; Brian Kilp, horn; Chad Roseland, bassoon with Martha Krasnican, piano

10 47TH CONTEMPORARY MUSIC FESTIVAL Indianapolis Chamber Orchestra Thursday, October 27, 2016, 7:30 pm, Tilson Auditorium

Matthew Kraemer, Conductor

PROGRAM

Passacaglia for Orchestra Reinaldo Moya (b. 1984) EarShot – Indianapolis Chamber Orchestra Composer Competition Winner in collaboration with the Indiana State University Contemporary Music Festival

The Glass Bead Game for Horn and Chamber Orchestra James A. Beckel Jr. (b. 1948)

Jeff Nelsen, French horn

--- Intermission ---

Rounds for String Orchestra David Diamond (1915-2005)

What the Monster Saw Libby Larsen (b. 1950)

11 ISU Faculty and Friends Chamber Recital Friday, October 28, 2016, 10:30 am, Recital Hall

PROGRAM

Grand Sycamore Fanfare Libby Larsen (b. 1950)

Sorrow Song and Jubilee Libby Larsen ISU Faculty Erik Rohde & Sharilyn Spicknall, violins Donna Clark, viola; Kurt Fowler, cello

Concert Piece for Tuba and Piano Libby Larsen Laura Potter, tuba Martha Krasnican, piano

Ici-bas tous les lilas meurent Emile Naoumoff (b. 1962) J’ai soif de ton âme Eau printanière O Mort! Yana Weinstein, mezzo-soprano Anthony Weinstein, piano

Dark Flow for Bass Clarinet and Fixed Media Dan Powers (b. 1960) Kelley Rogers Niiyama, bass clarinet

Charlas Guillermo Lago (b. 1960) I. confundida II. acogedora III. salvaje IV. sigilosa V. feroz Paul Bro and Scotty Stepp, alto saxophone

12 47TH CONTEMPORARY MUSIC FESTIVAL Music Now Recital Friday, October 28, 2016, 3:00 pm, Recital Hall

PROGRAM

Grand Sycamore Fanfare Libby Larsen (b. 1950) ISU Women’s Choir Yana Weinstein, director Andrea Marlow, piano

Never the Same River Harry Stafylakis (b. 1982) Chad Roseland, bassoon; Erik Rohde and Sharilyn Spicknall, violins; Kurt Fowler, cello; Martha Krasnican, piano

Toward the Other Shore for Solo Violin Suzanne Sorkin (b. 1974) Kia-Hui Tan, violin

Three Dickinson Songs Salvatore LoCascio (b. 1989) Hope is the Thing with Feathers Because I Could Not Stop for Death Look Back on Time with Kindly Eyes Danielle Steele, soprano and Christopher Ruggiero, piano

Suite for Solo Cello Taylor Ackley (b. 1990) Prelude Two-Step Rag Ballad Breakdown and Stomp Jig Kurt Fowler, cello

Last In, First Out Jack Frerer (b. 1995) Kelley Rogers Niiyama, clarinet; Erik Rohde, violin; Martha Krasnican, piano

13 Final Concert Friday, October 28, 2016, 7:30 pm, Tilson Auditorium

PROGRAM

Musica Mobilis James A. Beckel Jr. (b. 1948) ISU Brass Choir Erik Rohde, conductor

Alleluia Libby Larsen (b. 1950) Nyon Nyon Jake Runestad (b. 1986) ISU Concert Choir Scott R. Buchanan, director

Trombone Concerto (2013), Wind Version James A. Beckel Jr. I. Moderato maestoso - “More Questions than Answers” II. Adagio religioso poco rubato - “The Search for Truth” III. Maestoso furioso - “Unavoidable consequences” Randy Mitchell, trombone ISU Wind Orchestra Roby George, director

The American Dream from “Night Visions” for Symphony Orchestra James A. Beckel Jr.

Raspberry Island Dreaming Libby Larsen I. The river is . . . - Joyce Sutphen II. Where the river bent - Joyce Sutphen III. Raspberry Island - Patricia Hampl Clara Osowski, mezzo-soprano

Grand Sycamore Fanfare Libby Larsen ISU Symphony Orchestra Erik Rohde, director

14 47TH CONTEMPORARY MUSIC FESTIVAL Festival Guests

Principal Guest Composers Harmony Project. “Liberty for All” was written for that commission from Composers Forum. “The Glass Bead Game” was nominated for a Pulitzer Prize. “The Glass Bead Game: Concerto for Horn and Orchestra” was premiered by the Indianapolis Chamber Libby Larsen is one of America’s most performed living Orchestra on November 10, 1997. Kent Leslie was the horn soloist. “The Glass Bead composers. She has created a catalogue of over 400 works Game” is now available with orchestra, wind ensemble, chamber ensemble written for spanning virtually every genre from intimate vocal and chamber piano, harp, and percussion, and a version with piano which is published by Hal Leonard music to massive orchestral works and over twelve . Music. Mr. Beckel has also written several works for brass choir and brass quintet. In Grammy Award winning and widely recorded, including 2004 the Indianapolis Symphony premiered and commissioned “Fantasy after Schubert” over fifty CDs of her work, she is constantly sought after for dedicated to their Music Director, Mario Venzago, for the opening subscription concerts commissions and premieres by major artists, ensembles, and in celebration of their 75th season. For further inquiries about James Beckel, please visit orchestras around the world, and has established a permanent www.jimbeckelmusic.com place for her works in the concert repertory. As a vigorous, articulate advocate for the music and musicians of our time, in 1973 Larsen co-founded the Composers Forum, now the American Composer’s Forum, which has become an Composition Contest Winner invaluable aid for composers in a transitional time for American arts. A former holder of the Papamarkou Chair at John W. Kluge Center of the Library of Congress, Larsen has Reinaldo Moya is the recipient of the 2015 McKnight Composers also held residencies with the Minnesota Orchestra, the Charlotte Symphony and the Fellowship, the Van Lier Fellowship from Meet the Composer and Colorado Symphony. For further inquiries about Libby Larson, please visit libbylarsen.com the Award from the Copland House. He graduated from The with both masters and doctorate degrees, under the tutelage of Samuel James Beckel graduated from the Indiana University School Adler and Robert Beaser. He has been commissioned by the of Music and has been the Principal Trombonist with the Minnesota to write a new opera for their Project Opera. Indianapolis Symphony since 1969. He is also on the music An adaptation of Will Weaver’s book Memory Boy, the opera faculty at DePauw University and the University of Indianapolis. has a libretto by Mark Campbell and was premiered in the In addition to these responsibilities he has been a very active spring of 2016. Excerpts from his opera Generalissimo have composer and arranger. Mr. Beckel was born in Marion, been performed at Symphony Space, and Weill Recital Hall in in 1948. Carnegie Hall. Many original works have been performed by several His orchestral piece Siempre Lunes, Siempre Marzo will be performed by the New professional orchestras such as Minneapolis, St. Louis, Atlanta, Jersey Symphony in July 2016. His music has been performed in Germany, Colombia, Houston, Cincinnati, Baltimore, Buffalo, , Milwaukee, Brazil, , Argentina, Venezuela and throughout the by performers Indianapolis, Rochester, Charlotte, Fort Wayne, Rhode Island, such as the Juilliard Orchestra, the Simón Bolívar Symphony Orchestra of Venezuela, Springfield, Evansville, Tampa, Arkansas, Oklahoma City, the Da Capo Chamber Players, the Attacca Quartet as well as musicians from the Los Phoenix, Terre Haute, South Bend, Omaha, Knoxville, Delaware, Angeles Philharmonic, the Minnesota Orchestra and the St. Paul Chamber Orchestra, West Virginia, Chautauqua, and New Mexico, etc. among others. Mr. will join the faculty at Augsburg College in Minneapolis, Minnesota in Mr. Beckel has received many composition grants. He has been an Individual Arts the fall of 2016 as Assistant Professor of Composition. He has served on the faculty at St. Fellow through the Indiana Arts Commission and the National Endowment for the Arts, Olaf, and Macalester colleges in Minnesota. and recently was one of 50 composers chosen nationwide to be part of the Continental

15 Guest Soloists Clara’s passion for contemporary music is exhibited in the song-cycles she has premiered by numerous composers with the Center for New Music at the University of Iowa, and her most recent collaborations with Linda Tutas Huagen (Gjendine’s Lullaby), Jeff Nelsen, horn soloist Paul Rudoi (Midnight Songs) and James Kallembach (St. John Passion and Songs on Letters of John and Abigail Adams). As a recitalist, she recently completed the Vancouver One of the many Canadian pig-farm-raised magician horn International Song Institute, the International Workshop on the songs of Edvard Grieg in players in the world, Jeff Nelsen has thrilled audiences and Bergen, Norway, and traveled to Tours, France to attend the Académie Francis Poulenc. mentored students for over twenty years. Probably best known In 2015, she was the only American to reach the finals of the Das competition under for the eight years he spent touring and recording with Canadian the direction of Thomas Quasthoff in Berlin, Germany. Brass, Jeff has also performed concerti and chamber music on In collaboration with pianist Mark Bilyeu and composer Libby Larsen, Clara serves six continents, and in the horn sections of dozens of orchestras as the Associate Artistic Director of Source Song Festival, a week-long art song festival including the New York and Los Angeles Philharmonics, and the in Minneapolis, Minnesota. This festival strives to create and perform new art song, and Boston, Chicago, Cincinnati, Montreal, and St. Louis Symphonies. cultivate an educational environment for students of song, including composers, vocalists, He is professor of horn at the prestigious Indiana University and collaborative pianists. In addition to her solo work and private teaching, she participates Jacobs School of Music and is founder of Fearless Performance LLC, a company that in a number of ensembles, including Consortium Carissimi, Lumina Women’s Ensemble, Rose focuses on training musicians and more to consistently perform their best. Ensemble and Seraphic Fire. For more information, please visit www.claraosowski.com. Since giving his celebrated 2011 TEDx Talk about Fearless Performance Jeff has been training fellow TED Talk presenters, teachers, athletes, and business people into giving their own Fearless Performances as well. A huge Broadway musical fan, Jeff played the premiere run of two Broadway shows that were nominated for —“Chitty Chitty Guest Ensemble Bang Bang” (Sherman Brothers) and “The Pirate Queen” (Boublil and Schönberg). Jeff has toured with Michael Bolton and Barry Manilow, has recorded with Michael Buble and In 2012 a group of friends in came together to form a conductorless the pop band “Barenaked Ladies,” and has performed on dozens of movie and video game string ensemble that was truly collaborative and self-operated. Virtuosic and versatile, soundtracks. Jeff most enjoys performing with his wife, mezzo-soprano Nina Yoshida Shattered Glass has performed repertoire ranging from J.S. Bach and W.A. Mozart to Nelsen, on recital and orchestral pops series. Krzysztof Penderecki and crossover projects with Grammy®-nominated hip-hop artists. Jeff gives back to the music community through his roles as President of the From the concert hall to the salon, Shattered Glass adapts in size to fit the venue and International Horn Society and as a member of the board of advisors for the International repertoire, transforming from an intimate duo to a full chamber orchestra—at times Horn Competition of America. Aside from creating musical magic, Jeff is an enthusiastic within a single performance. magician, and often adds touches of illusionary arts to performances. He recently reached In the spirit of collaboration, Shattered Glass members regularly rotate the role a childhood dream of becoming a magician member of the Academy of Magical Arts at the of principal player and participate in a democratic system for creating and selecting world famous Magic Castle. For more information please visit www.jeffnelsen.com. programs. The result is a fresh and exciting approach to all aspects of performance which has led to a wide array of opportunities: A self-governed Midwest tour, performances Clara Osowski, mezzo-soprano at high profile events such as at TEDxEAST, a Carnegie Hall premiere at Zankel Hall in 2013, and a performance in Carnegie Hall’s Stern Auditorium in 2014 featuring violin Hailed for her artistry and “rich and radiant” voice (Urban Dial soloist Alexander Markov. Equally active in educational outreach, Shattered Glass has Milwaukee), Clara Osowski is an active soloist and chamber worked with hundreds of young artists at schools and programs in New York, New musician throughout the United States and Europe. She was a Jersey, Iowa, Illinois, and Michigan. 2012 National Council Upper-Midwest Regional Keeping collaboration at the center of it all gives Shattered Glass its unique Finalist, the winner of the 2014 Bel Canto Chorus Regional Artists personality, and as put by The New York Concert Review: “With a core of such talented Competition in Milwaukee, and recently named the runner-up in and enthusiastic young players, the future should be bright.” For more information the 2016 Schubert Club Bruce P. Carlson Scholarship Competition. please visit shattered-glass.org. Clara received her Bachelor of Musical Arts degree with emphasis in Voice from North Dakota State University, and Master of Arts Degree in Voice from the University of Iowa.

16 47TH CONTEMPORARY MUSIC FESTIVAL

Music Now Composers Melomanie, Mannes Trio, Cabrini Quartet, Cleveland Chamber Symphony, Third Angle, and Aspen Contemporary Ensemble. Residencies awarded to her include Millay Colony for the Arts, Virginia Center for the Creative Arts, Ragdale Foundation, Artists’ Enclave at Taylor Ackley is a performer and composer of Classical, Jazz and Traditional American I-Park, ART342, Brush Creek, Kimmel Harding Nelson Center, and Atlantic Center for the Music from Washington State. As an undergraduate, he attended Adelphi University Arts. She received her Ph.D. in music composition from the through where he studied classical vocal performance, jazz bass and composition. Taylor is the support of a four-year Century Fellowship in the Humanities. currently a graduate student at , where he has studied composition Suzanne Sorkin has taught music composition, theory, and music history at Vassar with Daria Semegen, Perry Goldstein, Margaret Schedel and Ray Anderson. Along with College. She is currently an Associate Professor of Music at Saint Joseph’s University in his substantial success as a multi-instrumentalist, Taylor has been commissioned by Philadelphia, where she teaches music composition and theory and serves as chair of the a number of choirs, ensembles and jazz bands including significant projects for The Department of Music, Theatre and Film. Peninsula Singers and Discernment Music. Taylor has composed over 40 original works, which explore the various expressive Harry Stafylakis (b. 1982, Montreal) is a Canadian-American composer based in New languages he has learned from his wide range of musical experiences. This has led to York City. His “dreamy yet rhythmic” (NY Times) concert music strives for dramatic a recent compositional output which simultaneously liberates and challenges musicians emotional and intellectual expression, integrating idioms drawn from classical and through a unique combination of guided improvisation and nontraditional notation coupled popular styles. He is the 2015–16 Composer-in-Residence of the McGill Chamber with an intense reliance on the performer’s own ears. Orchestra and has been appointed the Symphony Orchestra’s Composer-In- Residence and co-curator of the Winnipeg New Music Festival beginning September Jack Frerer is an Australian composer, guitarist, and producer based in New York, 2016. Stafylakis’s works have been performed by the American Composers Orchestra, currently studying composition with Robert Beaser at The Juilliard School with the help the Spokane, Stamford, Victoria, and FSU symphonies, and numerous ensembles. He of the Adrian Weller Scholarship and the Steuermann Memorial Prize. Jack has written has been featured at the NY Philharmonic Biennial, New Music on the Point, Atlantic pieces and arrangements for a number of ensembles and artists including the Ku-Ring- Center for the Arts, June In Buffalo, and Montreal International Classical Guitar Festival. Gai Philharmonic, the Lane Cove Youth Orchestra, as well as chamber and jazz groups, His awards include the Fellowship from the American Academy of Arts and solo artists and bands. Letters, the ASCAP Foundation’s Award, four SOCAN Foundation Awards for Young Composers, and grants from the Council for the Arts and Composer Salvatore A. LoCascio has written for a broad spectrum of performers and NYSCA. Stafylakis holds a B.Mus. from McGill University. He is a doctoral candidate mediums, frequently turning to Medieval, Renaissance, Early Baroque and early 20th at The Graduate Center, CUNY, and lectures at the City College of New York. His century compositional techniques as a source of inspiration. A champion of 20th and SSHRC-supported doctoral research, examines the conception of rhythm and meter in 21st century vocal music, he often performs in recital and does workshops with students progressive metal. For more information please visit www.hstafylakis.com. int eh Atlanta area on writing for the human voice. He has had works performed by ensembles of varying ability and sizes across the continental United States. In 2010 he won the Atlanta Mu Phi Epsilon Alumni Scholarship, where he was noted showing “achievement in both performance and composition” after performing excerpts of his Guest Orchestra own Songs of William Blake song cycle. His recent choral work The Good Shepherd won 2014 Georgia Young Composer’s Festival. Bene, a work for viola and recording utilizing The Indianapolis Chamber Orchestra (ICO) made its debut on November 18, 1984 as elements of byzantine chant, was selected for a performance at the 2014 Society of Musicians of the Cloister at Trinity Episcopal Church in Indianapolis. In 1987 the name Composers Incorporated National Conference. “Indianapolis Chamber Orchestra” was adopted, and the following year Maestro Kirk Trevor was appointed Music Director. Suzanne Sorkin (b. 1974) is active as a composer and educator. She has received awards The mission of the Indianapolis Chamber Orchestra is to advance and promote music and commissions from the Fromm Music Foundation at , Chamber composed for the small orchestra through professional performances and educational Music Now, Violin Futura, Third Millennium Ensemble, counter)induction, ASCAP, Meet programs. Comprised of 34 professional musicians chosen by audition, the ICO annually the Composer and others. Her work has been programmed on Piano Spheres in Los presents a subscription concert series using a variety of formats including, Masterworks Angeles, Washington Square Contemporary Music Society in New York City, Denison and Pops. The ICO Masterworks concerts draw on a body of musical literature spanning University New Music Festival, Chamber Music Quad Cities, Florida State University four centuries, and the ICO Pops focuses on popular and theatrical genre, all of which are Festival of New Music, and Vassar Modfest. She has written for ensembles including

17 scored for the small reinvigorated both ensembles with innovative programming orchestra. In addition and elevated performance standards. His active guest to presenting the schedule has included appearances with many of full breadth of the nation’s finest orchestras, including the Atlanta, Baltimore, chamber orchestra Cincinnati, Columbus, Houston, Indianapolis, Jacksonville, repertoire, the Nashville, North Carolina, Saint Louis, Spokane, Syracuse, and ICO’s subscription Virginia symphony orchestras, as well as Canada’s Mississauga concerts feature Symphony and Hamilton Philharmonic and in Europe with the internationally Vidin Philharmonic and the Orquesta de Cadaqués. Upcoming recognized concert season highlights include productions of Michael Nyman’s The artists as well as Man Who Mistook His Wife for a Hat and ’s superior local talent, with Indianapolis Opera, Puccini’s Madama present aspiring Butterfly with the Erie Chamber Orchestra, Alfred Hitchcock’s young soloists, and Psycho with live orchestral accompaniment, and performances showcase the talents with Midori and the Metropolitan Opera National Council of contemporary finalists. The 2015-16 season also brings return engagements composers. The to the Rochester Philharmonic and the Elgin Symphony. ICO has commissioned several new works and has performed a number of world Mr. Kraemer recently completed a highly successful, five-year tenure as associate and American premieres during its 30-year history. ICO performances are also made conductor of the Buffalo Philharmonic, where he regularly led the orchestra on each of its available to the central Indiana community via weekly WFYI radio broadcasts on Monday concert series, including Classical, Pops, Family, education and community engagement evenings at 10 p.m. programs. A passionate advocate for new music, he has performed the works of many Operating support for the Indianapolis Chamber Orchestra comes from private and living composers during his career. He has led composer readings and workshops government granting agencies, a supportive corporate community, and an increasing with several orchestras in the United States, in addition to leading the BPO’s Earshot base of individual contributors who appreciate the organization’s significant place in the partnership with the American Composers Orchestra in Buffalo for three consecutive city’s multi-dimensional cultural climate. The ICO is governed by a Board of Directors seasons. Increasingly recognized for his committed advocacy of music education and his drawn from the professional, business, educational, and arts communities, and has a devotion to young audiences, he has created numerous arts education programs and has professionally managed endowment. taught at several music festivals both in the US and abroad. The Buffalo Philharmonic’s award-winning education concerts grew exponentially under his leadership, expanding to reach over 40,000 students throughout western New York. Music Director An Indiana native, Mr. Kraemer studied conducting in Vienna, Austria with Salvador Mas Conde and was twice a fellowship conductor at the American Academy of Recognized for his “musical sensitivity” and “energized sense of Conducting at Aspen. Recipient of the distinguished Herbert von Karajan Conducting interpretation,” Matthew Kraemer is quickly making his mark among Fellowship and the Bruno Walter Career Development Grant, Mr. Kraemer served a young American conductors for his inspired performances and residency with the Vienna Philharmonic at the 2006 Salzburg Music Festival. He has versatility. The Buffalo News noted recently, “He presents a tall, additionally participated in the National Arts Center Conductor’s Program in Ottawa, dignified and stately podium presence with a quite clear beat, a Canada. His conducting teachers include David Zinman, Robert Spano, Stanley DeRusha, good sense of shaping melodic lines, and an all business attitude and Jorma Panula. Mr. Kraemer is a graduate of Butler University and the University of that focused on the music without any histrionics.” Following an Nevada, where he assisted former Cincinnati Symphony concertmaster Phillip Ruder. extensive international search, Mr. Kraemer was recently appointed An accomplished violinist in his own right, he was a member of the Nightingale String Music Director and Principal Conductor of the Indianapolis Quartet. Fluent in German and French, his principal violin teachers include Phillip Ruder, Chamber Orchestra, beginning July 2015. He additionally begins Herbert Greenberg, Davis Brooks, and Larry Shapiro. When he is not performing, Mr. his fourth season as Music Director and Conductor of the Butler Kraemer enjoys cooking, running, and reading. He and his wife Megan live in Indianapolis County Symphony and the Erie Chamber Orchestra, where he has with their son Gabriel.

18 47TH CONTEMPORARY MUSIC FESTIVAL Musicians of the Indianapolis Chamber Orchestra

VIOLIN I VIOLA FLUTE BASSOON PERSONNEL MANAGER William Ronning, Csaba Erdélyi, Principal Anne Reynolds, Principal Kara M. Stolle, Principal Daniel Golando Guest Concertmaster* Colette Abel Suzanne Farley Matthew Hogan Deborah Rodin Byron Plexico STAGE MANAGER Pamela Close Donna Lively Clark OBOE HORN Amylou Porter Thomas Watkins Leonid Sirotkin, Principal Lee Shirer, Guest Principal Irina Mueller CELLO Pamela French LIBRARIAN Marjorie Lange Hanna, TRUMPET Marsha Krantz VIOLIN II Principal ENGLISH HORN Daniel Golando Lisa Brooks, Principal Nancy Smith Pamela Ajango Alfred Abel, Assistant Dennis McCafferty TROMBONE Principal CLARINET Jared Rodin Ginny Womack DOUBLE BASS Eli Eban, Principal David Murray, Principal Candice Kiser HARP Emmet Hanick Wendy Muston

Additional musicians performing in this evening’s concert include:

Nicole DeGuire, Violin Sarah Greene, Horn Amanda Baer, Violin John Rommel, Trumpet Marsha Krantz, Viola Gerald Noble, Timpani Danae Witter, Viola Murray Mast, Percussion Tamara Thweatt, Flute/Piccolo Jimmy Finnie, Percussion Michael Borschel, Clarinet Rebecca Sorley, Piano Krista Weiss, Clarinet

19 Past Participants

Guest Orchestras 2002 Chen Yi 1985 1969 Arthur Custer 2001 Richard Einhorn (PP, 1979) Ross Lee Finney 2007 – 2015 Nikolai Lopatnikoff 2000 1984 Ellen Taaffe Zwilich The Indianapolis Chamber Orchestra (PP, 1983) Ron LoPresti (PP, 1998; GA, 2002) Elliott Schwartz 1999 Shulamit Ran (PP, 1991) 1983 Ned Rorem (PP, 1976) Laurence Taylor 1987 – 2006 1982 The Louisville Orchestra 1998 1968 Leslie Bassett (PP, 1966) (PP, 1972) Jack Beeson 1997 Thomas Beversdorf (PP, 1968) 1981 George Rochberg 1967 – 1986 Thomas Bricetti 1980 Martin Mailman Indianapolis Symphony Orchestra 1996 Libby Larsen Roy Travis 1979 (Sept.) None 1995 Samuel Adler 1967 Donaldson Lawhead (Jan.) William Kraft Jon Polifrone Principal Guest Composers 1994 Karel Husa (PP, 1969; GA, 1993) 1978 Barney Childs Paul Schwartz Donald White 1993 Chinary Ung (GA, 1989) 1977 Elliot Schwartz 2015 Carter Pann Charles Wuorinen 1976 David Cope 2014 Derek Bermel 1992 (PP, 1970) William Maloof (PP, 1980) Richard Yardumian 2013 Evan Chambers David Baker 1991 John Harbison 2012 Christopher Theofanidis (PP, 1987) 1975 David Del Tredici 2011 Eric Ewazen (PP, 1980) 1990 John Corigliano 2010 Gabriela Lena Frank (GA, 1991) 1974 H. Grant Fletcher 2009 Steve Reich 1989 William Bolcom 1973 Russell J. Peck 2008 Dan Locklair (PP, 1988) 1972 No Festival 2007 David Baker 1988 Joan Tower (GA, 1990) 1971 Michael Colgrass GA University of Louisville Grawemeyer Award winner 1987 (PP, 1978) 2006 Augusta Read Thomas and year (PP, 1994) 2005 Roberto Sierra 1986 Bernard Rands 1970 Jon Polifrone 2004 (PP, 1984) PP Pulitzer Prize winner 2003 Stephen Paulus Maximo Flugelman and year

20 47TH CONTEMPORARY MUSIC FESTIVAL

Guest Performers 1996 American Brass Quintet 1979 The University of Illinois 1995 Dorian Wind Quintet (Sept.) Contemporary Chamber Players; Paul Schoenfield, piano; 2015 Carter Pann, Piano 1994 Colorado Quartet Jack Kirstein, cello; 2014 Minju Choi, piano 1993 Cleveland Chamber Symphony Carolyn Fittz Derek Bermel, clarinet 1992 The Western Wind 1979 Hank Roberts and the (Jan.) Terre Haute New Creation 2013 Mary Bonhag, soprano; 1991 Lydian String Quartet Evan Premo, double bass Ensemble 1990 Aequalis; 1978 Jan DeGaetani, mezzo-soprano; 2012 Indianapolis Chamber Players Maro Partamian, mezzo-soprano; , piano 2011 Chicago Saxophone Quartet; James Tocco, piano 1977 Indianapolis Jazz/Rock Ensemble The Ambassador Brass 1989 The Da Capo Chamber Players 2010 Michael Kirkendoll, piano Joan Morris, mezzo-soprano 1976 Gita Karasik, pianist 2009 Steve Reich Ensemble 1988 Equilibrium 1975 The McLean Mix Adam Klein, tenor 2008 Fulcrum Point New Music Project 1974 None The Dale Warland Singers 2007 Ronen Ensemble 1973 None 1987 Kronos Quartet 2006 Callisto Ensemble 1972 No Festival 1986 Chicago Jazz Quintet 2005 Continuum Shari Anderson, soprano 1971 Paul Reed, pianist 2004 John Graham, viola; 1985 The Percussion Group/Cincinnati 1970 None Omni Ensemble 1984 The Chester String Quartet 1969 None 2003 eighth blackbird 1983 Nelda Nelson, soprano 1968 None 2002 eighth blackbird Arkady Orlovsky, cello 1967 Lili Chookasian, soprano 2001 Chicago 21st Century Suzuki and Friends (Indianapolis) Music Ensemble 1982 Suzuki and Friends (Indianapolis) 2000 The Core Ensemble 1981 The Chester String Quartet 1999 The Peabody Trio 1980 Equilibrium; 1998 Present Music Diane Kesling, mezzo-soprano 1997 Continuum

21 Composition Contest Winners 1991 David Dzubay 1979 Aurelio de la Vega 1975 James Balentine 1990 Michelle Ekizian (Sept.) Frederick Fox Priscilla McLean Sydney Hodkinson James Riley 2015 None 1989 Jeffrey Hass Vincent McDermott Greg Steinke 2014 Michael-Thomas Foumai 1988 John Muehleisen John Rinehart Gary C. White Ramon Zupko 2013 Veronika Krausas 1987 Stephen Hartke 1979 Randall Henn (Jan.) Byron Hermann 1974 David Cope 2012 Bin Li 1986 Timothy A. Kramer James Hobbs III William Dargan Linda Bouchard 2011 Nicolai Jacobsen James Horner Barton McLean 1985 Tyler White 2010 Joseph Dangerfield William Steinort Theldon Myers James Underwood 1978 Conrad Cummings Jeffrey Prater 2009 Lansing McLoskey Thomas Ludwig Arthur Jannery Glenn Spring 2008 Alejandro Rutty 1984 Julius Burger Daniel Kessner 1973 Kurt Carpenter 2007 David Dzubay Eric Stokes Paul Reale Nicholas D’Angelo Jerry M. Owen 2006 Karim Al-Zand Sheila Silver William J. Maloof 1983 Donald Grantham Edward J. Miller 2005 Robert Paterson 1977 Will Gay Bottje Larry Stuckenholtz Simon Carfagno Pasquale J. Spino 2004 Andrián Pertout Jan Swafford Gerald Plain Paul Steg 2003 Ann K. Gebuhr 1982 Michael Kurek George Michael Schelle 1972 No Festival 2002 Mike McFerron Faye-Ellen Silverman Byron Tate 1971 Richard Busch Stephen Suber 2001 Cindy McTee 1976 Robert Barclay Charles Campbell 1981 Ruth Anderson Richard Busch Kurt Carpenter 2000 Peter Knell Ann Gebuhr Robert Keys Clark Gordon Goodwin 1999 Mark Kilstofte Scott Meister Curtis Curtis-Smith Walter Mayes Andrew Frank Paul Turok 1998 James Grant 1980 Joey Bargsten Andrew Imbrie Paul Whear Maximo Flugelman 1997 Garrison Hull James Morgan Stephen Stucky 1970 None 1996 Carl Vollrath Jordan Tang 1969 None 1995 Srdan Dedic 1968 None 1994 Lawrence Rapchak 1967 None 1993 Augusta Read Thomas 1992 Daniel Godfrey

22 47TH CONTEMPORARY MUSIC FESTIVAL

Guest Music Critics/Scholars 1990 John von Rhein, Chicago Tribune 1978 Robert Finn, 1989 Tim Page, Newsday Cleveland Plain Dealer Karen Monson, 2004 Mary Madigan, Boosey & Hawkes 1988 Byron Belt, Chicago Daily News Newhouse News Service 2003 Olivia Carter Mather, 1977 None Jean-Benôit Tremblay, 1987 Nancy Malitz, Detroit News, 1976 None Vincent Benitez, Ralph Lorenz Gannett News Service 1975 None 2002 Brian Sacawa, Paolo Bortolussi, 1986 Eric McLean, Montreal Gazette Tom Lopez, Patti Plascak Willey 1985 David Hamilton, Free-lancer 1974 None 2001 Daniel H. Foster, Jeongwon Joe, 1984 Michael Anthony, Minneapolis 1973 None Charles Leinberger, Star and Tribune 1972 No Festival Thomas Handel, Tobias Plebuch 1983 Robert Finn, 1971 None 2000 Arved Ashby, American Cleveland Plain Dealer Record Guide 1970 Charles Staff, Indianapolis News 1982 Charles Staff, Indianapolis News Thomas Willis, Chicago Tribune 1999 Wynne Delacoma, Leighton Kerner, Village Voice Chicago Sun-Times 1969 None 1981 Stephen Cera, Baltimore Sun 1968 None 1998 Andrew Adler, The Louisville Betty Dietz Krebs, Courier-Journal Dayton Daily News 1967 None 1997 Kyle Gann, Village Voice 1980 William Littler, Star 1996 David Patrick Stearns, USA Today James Wierzbicki, St. Louis Globe-Democrat 1995 Willa Conrad, Charlotte Observer 1979 Lawrence B. Johnson, 1994 Scott Cantrell, Kansas City Star (Sept.) Milwaukee Sentinel 1993 James Wierzbicki, Nancy Malitz, St. Louis Post-Dispatch Cincinnati Enquirer 1992 James Oestreich, 1979 Robert Croan, New York Times (Jan.) Post-Gazette 1991 Lawrence B. Johnson, Richard Dyer, Boston Globe Freelance writer

23 Acknowledgments

Contemporary Music Indiana State University Program Book Grant Support Festival Committee Daniel J. Bradley, President Kurt Fowler, Editor This activity made possible, in part, Kurt Fowler, Artistic Director, with support from the National Music Faculty Michael J. Licari, Provost and Vice Jennifer Johnson, Designer Endowment for the Arts, a federal President for Academic Affairs agency and Arts Illiana, the Indiana Paul Bro, Music Faculty Arts Commission, a state agency. Christopher Olsen, Interim Dean, Colleen Davis, Music Faculty Media College of Arts and Sciences Indiana State University Center Christa Flores, Music Student, SAI for Community Engagement Paul Bro, Director, School of Music Terre Haute Tribune-Star Brian Kilp, Music Faculty SAI Philanthropies, Inc. Hulman Center, Tilson Music Hall Randy Mitchell, Music Faculty WFIU-FM and University Hall staff Indiana State University Dan Powers, Music Faculty Sesquicentennial Grant Audio-Visual Services Erik Rohde, Music Faculty Office of Communications Libby Roerig, Office of and Marketing Communications and Marketing

Special Thanks:

To Erik Rohde and Dan Powers for helping adjudicate the Music Now Competition. To Brian Kilp, Dan Powers, and Yana Weinstein for helping to adjudicate the Student Performer/Composition Competition. To Indiana State University for continued support of this festival.

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